Printable Intro (PDF)

Total Page:16

File Type:pdf, Size:1020Kb

Printable Intro (PDF) pottery firing and glazing: kilns can be electric, gas, what is it? coal- or wood-fired. Bisque firing turns your clay It's using clay to make pots and other items - food pot into a hard, ceramic pot, after which you glaze and drink containers, flower pots, tiles etc. There it and back it goes into the kiln for the glaze firing. are various methods of making pots, then they Glaze is a silicon-based liquid or powder that is have to be dried and fired in a kiln. After firing, the applied to pottery to make it non-porous, but also clay becomes ceramic, which is hard, and doesn't for decoration. Glaze contains silica (glass), break down in contact with water, as unfired clay alumina (clay to make it stick to the side of the would. Patterns and colours can be introduced pot) and flux to lower the melting temperature of onto the pot by scratching, painting, printing or via the silica (from 1700°C, which is too high). Firing transfers. Pottery for use with food and drink has makes it set hard as a protective layer. to be glazed, or it will be porous and unhygenic. clays: are extremely fine-grained soils formed by what are the benefits? the chemical weathering of rocks. Primary clays, You can learn to make your own useful and or kaolins, are found at the site of their formation. beautiful items. It can be therapeutic, and you can Secondary clays were moved by wind, water or gain skills to start your own small business. If you ice, which reduces particle sizes and makes the don't want to make your own, you can buy clay smoother, and it picks up impurities that ceramic items from a local potter, if you have one. change its colour and lower its firing temperature. They will be more expensive, but barring Ceramics, such as earthenware, stoneware and accidents, will last a lifetime. You'll be supporting porcelain are classified according to the type of your local economy, rather than multinationals clays used and firing temperatures. importing cheap, sweat-shop mugs and plates history: it's one of the oldest technologies. from the other side of the world, with all the Ceramic figures have been found almost 30,000 pollution and carbon emissions that that entails. years old, and fragments of pots have been found The most environmentally-friendly way of making in Japan, dated around 14,000BCE. The potter's your own pottery is by using locally-dug clay, wheel is also an ancient invention - around 3- handbuilding or using a kickwheel and a wood- 3500BCE in the Indus Valley, China, Egypt and fired kiln - or you can go a step further and hand- Mesopotamia. No-one's sure who was first; but it build 'wild pottery' from hand-dug clay, fired on an wasn't invented in the Americas at all. open fire, and glazed with milk. techniques: hand-building is easier than using a wheel. The main methods are coiling, pinch pots, what can I do? slab pots, rolling and wrapping or press-moulding. Pottery isn't something you can learn from books. Making a pot on a potter's wheel is called You have to have a go - so maybe the first thing 'throwing'. This method needs a lot of practice. to do is attend a course. You can dig up some From clay to mug: cutting and weighing clay; throwing; adding a handle; bisque firing; decorating; glazing; glaze firing; finished mug. pottery clay and experiment - see if you can make pots, and if it fires at an appropriate temperature. If you can't find local clay, you can buy everything you need from potters' suppliers. Prepare your clay, by wedging and kneading to get rid of air bubbles. Then have a go at the different techniques. hand building: • coiling - you can make different shapes using long, rolled pieces of clay and building up from the bottom. Do the bottom part on day one, build a little higher on day two etc. • pinch pots - made from a single ball of clay, by pinching the sides up • slab pots - with square/rectangular base / sides • press-moulding - clay is rolled flat and pressed 'Wild' pottery made from locally-dug clay into (or around) a mould to make shallow dishes and fired on an open fire. • just rolling out the clay and wrapping it round ready-made shapes or tubes to form vases, for leaving them on a shelf for a week. Kilns are example; can make square shapes as well expensive, but there are places you can hire kiln Techniques can also be combined on single items. time to fire your pieces - search online or your You can press designs into the clay when it's wet, local classifieds. Earthenware is usually fired at and scratch patterns when it's 'leather hard' - the 1000-1200°C, stoneware 1100-1300°C and tidying-up stage. Then leave to dry before firing. porcelain 1200-1400°C. You don't know what throwing: get a potter's wheel, from potters' you're going to find when you open the kiln. suppliers, or second-hand. Choose a good-quality Hopefully everything will have gone well, but your wheel and it will last a lifetime. Actually, a pot may have cracked, or even blown up if there kickwheel will last a lifetime, and is more was air in the clay. You can also fire 'wild pottery' environmentally-friendly than an electric wheel, as on an open fire or in a pit (see 'benefits', above). it's spun by leg-power rather than electricity. You There is an enormous amount of information that can also build your own wheel by adapting almost is beyond the scope of this factsheet - such as: anything that spins - like a bike wheel. You'll find various types of glazes, including shiny, matt, dry lots of ideas on YouTube. 1lb (0.5kg) of clay will and raku; salt or sugar firing - thrown into the kiln give you a mug or a small bowl - you'll know how at peak temperature to give an 'orange peel' much clay to use with practice. Form the clay into effect; oxidation (allowing air in) and reduction a ball and do a bit of 'coning and balling' - (keeping air out) glaze firing, to produce different squeezing up and pushing down to prepare the colours and effects; raku firing, at lower clay for throwing. Centre the clay on the wheel by temperatures for a lustred appearance. But these turning it a few times, then stick your thumb in to and more can all be learnt after you've mastered open up a hole, before turning the wheel and the basics. bringing up the clay at the sides with your hands (the most difficult part for beginners). Master small resources pieces before trying bigger items. Put your pot • see lowimpact.org/pottery for more information, aside, and when it's 'leather hard', put it back on courses and books, including: the wheel to trim off excess clay from the bottom • Steve Mattison, the Complete Potter and to tidy up the outside. Then make your handle • Alex McErlain, the Art of Throwing if necessary - score it where it joins the pot/mug • Susan Bruce, the Art of Handbuilt Ceramics and fix using slip (watered-down clay). • Frederick Olsen, the Kiln Book drying, firing and glazing: your pot can crack if it • Craft Potters Association, cpaceramics.co.uk, dries unevenly, which may happen if it's not the equipment suppliers and regional associations same thickness throughout. Items have to be • Potfest, potfest.co.uk, potters' festival / markets bone-dry before firing, which usually means • jhpottery.com - mini-tutorial Feel free to upload, print and distribute this sheet as you see fit. 220+ topics on our website, each with introduction, books, courses, products, services, magazines, links, advice, articles, videos and tutorials. Let's build a sustainable, non-corporate system. facebook.com/lowimpactorg Lowimpact.org twitter.com/lowimpactorg Registered in England. Company Ltd. by Guarantee no: 420502.
Recommended publications
  • Decorative Arts & Contemporary Ceramics
    Decorative Arts & Contemporary Ceramics Contemporary Arts & Decorative I Montpelier Street, London I 13 November 2019 I Montpelier Street, 25323 Decorative Arts & Contemporary Ceramics Montpelier Street, London I 13 November 2019 Decorative Arts and Contemporary Ceramics Montpelier Street, London | Wednesday 13 November 2019, at 1pm BONHAMS BIDS ENQUIRIES FURNITURE & FURNISHINGS Montpelier Street +44 (0) 20 7447 7447 Mark Oliver Whilst we take every care in Knightsbridge +44 (0) 20 7447 7401 fax Tel:+44 (0) 20 7393 3856 cataloguing furniture which has London SW7 1HH [email protected] [email protected] been upholstered we offer no bonhams.com guarantee as to the originality of Please note that bids should Duane Kahlhamer the wood covered by fabric or VIEWING be submitted no later than 24 Tel: +44 (0) 20 7393 3860 upholstery. hours before the sale. New [email protected] Sunday 10 November bidders must also provide proof All furniture and furnishings 11am – 3pm of identity when submitting bids. Emily Mayson produced after 1 January 1950, Monday 11 November Failure to do this may result in Tel: +44 (0) 20 7393 3997 comprising an element of soft 9am – 4.30pm your bids not being processed. [email protected] furnishing, is strictly regulated Tuesday 12 November by statute law in the interests of 9am – 4.30pm Live online bidding is [email protected] safety. Such items in the sale Wednesday 13 November available for this sale were not originally supplied for 9am – 11am Please email [email protected] PRESS ENQUIRIES use in a private home or now with “Live bidding” in the subject offered solely as works of art.
    [Show full text]
  • Perryman Ceramics Monthly
    CONTAINING TIMEJane Perryman’s New Approach to the Vessel by Esther Carliner Viros 1 32 october 2015 www.ceramicsmonthly.org I am walking my dog Riley along a field ditch edged with hedgerows and trees. The sky is cloudy gray, the path muddy soft from heavy rains. The prints of horses, deer, and muntjac are etched into the ground. For a hundred meters ahead the line of hedging has been cut by the farmer, sliced by a chainsaw to reveal smooth yellow wood made indecent by sud- den amputation. A hazel tree lies across the path. Stunted catkins hang from the branches, their future pollination a thwarted dream. A hazel tree felled across the path Smooth yellow wood Sliced by a chainsaw Stunted catkins hanging limply —Jane Perryman 2 The multimedia installation entitled Containing Time, a segment of which is being shown in the context of a larger solo exhibition of ceramics and paintings at Vessels Gallery in Boston, Massachusetts, represents an important new direction for British artist Jane Perry- man. Internationally recognized as a ceramic artist, writer, photog- rapher, and film maker, Perryman has brought these various forms of expression together to create a new body of work. Found objects (such as the catkins cited above) inspire a text, are photographed, used to produce a frottage, incorporated into clay material, transformed into a vessel and fired, thus becoming a record of time and place. Well known for her books on naked clay and smoke-fired ceramics, Jane Perryman is also an authority on traditional Indian pottery. Her book, Traditional Pottery of India and a documentary recently released on DVD, are now essential archives of a disappearing tradition.
    [Show full text]
  • Holds the Key Ingredient... Contents
    2016 holds the key ingredient... Contents About Us 3 How To Choose The Right Clay For You 4 Our Clays 6 Terracotta 6 Alex Shimwell Stoneware 7 Earthstones 10 Professional 13 Porcelain 16 Earthenware 17 French Regional Clays 18 Paper Clays 18 Powdered Clays 19 Slips 21 Casting Slips 21 Pouring Slips 21 Decorating Slips 21 Raw Materials 22 China/Ball Clays 22 Raw Clays 22 Fluxes 22 Oxides 23 Groggs 23 Plasters 23 Deflocculants 23 Sundry Materials 24 Custom Clay Formulas & Special Order Clays 25 Warranties & Responsibilities 25 Technical Information 26 Jane Wheeler 2016 Price List 30 Distributors 34 Front cover images are provided by... Top: Clare Wakefield Bottom: Beverley Gee, Garry & Pollie Uttley, Susanne Luckacs-Ringel 2 INFO About Us In the heart of the potteries over the past 36 years over 90 clay bodies to choose from Valentine Clays has Valentine Clays, a family run manufacturer, has worked ensured that there is a product to suit a potters every directly with the studio potter community formulating need whether you are a beginner or a professional. and fine tuning clays using the best possible ingredients. For advice or help with any technical issues please call This close working relationship enables the world-leading 01782 271200 or email [email protected] clay manufacturer and raw materials supplier; based we will be only too pleased to help. in Stoke-on-Trent, to successfully develop ceramic clay bodies to suit the specific requirements of a long list of renowned British and International potters. The team at Valentine Clays prides itself on constant development of new and innovative clays bodies using Kind regards, the latest ceramic manufacturing equipment; with The Valentine Clays Team Thank you to the studio potters whose images, taken from our online gallery, have been used in this brochure.
    [Show full text]
  • Ceramics Monthly Apr04 Cei04
    editor Sherman Hall associate editor Tim Frederich assistant editor Renee Fairchild design Paula John production manager John Wilson production specialist David Houghton advertising manager Steve Hecker advertising assistant Debbie Plummer circulation manager Cleo Eddie publisher Marcus Bailey editorial, advertising and circulation offices 735 Ceramic Place Westerville, Ohio 43081 USA telephone editorial: (614) 895-4213 advertising: (614) 794-5809 classifieds: (614) 895-4212 customer service: (614) 794-5890 fax (614) 891-8960 e-mail [email protected] [email protected] [email protected] [email protected] website www.ceramicsmonthly.org Ceramics Monthly (ISSN 0009-0328) is published monthly, except July and August, by The American Ceramic Society, 735 Ceramic Place, Westerville, Ohio 43081; www.ceramics.org. Periodicals postage paid at Westerville, Ohio, and additional mailing offices. Opinions expressed are those of the contributors and do not necessarily represent those of the editors or The Ameri­ can Ceramic Society. subscription rates: One year $32, two years $60, three years $86. Add $25 per year for subscriptions outside North America. In Canada, add GST (registration number R123994618). change of address: Please give us four weeks advance notice. Send the magazine address label as well as your new address to: Ceramics Monthly, Circulation De­ partment, PO Box 6136, Westerville, OH 43086-6136. contributors: Writing and photographic guidelines are available on request. Send manuscripts and visual sup­ port (slides, transparencies, photographs, drawings, etc.) to Ceramics Monthly, 735 Ceramic PI., Westerville, OH 43081. We also accept unillustrated texts e-mailed to [email protected] or faxed to (614) 891-8960. indexing: An index of each year's feature articles appears in the December issue.
    [Show full text]
  • PSW-33-4.Pdf
    Volume 33, No. 4 DECEMBER 2017 WINTER 2017 ISSN 0738-8020 MISSION STATEMENT Pottery Southwest, a scholarly journal devoted to the prehistoric and historic pottery of the Greater Southwest (https://potterysouthwest.unm.edu), provides a venue for students, professional, and avocational archaeologists in which to publish scholarly articles as well as providing an opportunity to share questions and answers. Published by the Albuquerque Archaeological Society since 1974, Pottery Southwest is available free of charge on its website which is hosted by the Maxwell Museum of the University of New Mexico. CONTENTS Page Pots of Ethnicity? David H. Snow ............................................................................................................. 2-27 Shamanism, Hallucinogenic Plants and Prehistoric Ceramics: Do hairy gods and echinate pots now tell their secret narrative to an unintended audience? William J. Litzinger ................................................................................................... 28-42 Salado as a Technology: A New Perspective on Salado Polychrome Andy Ward ................................................................................................................. 43-48 Reports and Announcements ................................................................................................... 49 CDs Available from the Albuquerque Archaeological Society ........................................ 50-51 How to Submit Papers and Inquiries .....................................................................................
    [Show full text]
  • Fewkes, Vladimir (1944)
    CATAWBA POTTERY-MAKING, WITH NOTES ON PAMUNKEY POTTERY-MAKING, CHEROKEE POTTERY-MAKING, AND COILING VLADIMIR J. FEWKES* University Museum, University of Pennsylvania (Read by title November 22, 1941) CONTENTS Introduction ................................... 69 Molding within a double form.............. 81 Methods and techniques of Catawba pottery-making. 72 Forms....................................... 83 Acquisition and treatment of raw material....... 72 Surface finish................................. 86 Natural conditions and supplies............... 72 Decoration ................................... 88 Clay pits................................... 73 Drying process ............................... 88 Preparation of paste......................... 73 Firing ........................................ 90 Process of manufacture ....................... 75 Post-firing treatment.......................... 93 General preparations........................ 75 Time duration of the potter's tasks................ 94 Building technique .......................... 77 Technological miscellanea ....................... 96 Modeling ................................ 77 Cherokee pottery-making ....................... 97 Segmental building ....................... 78 Pamunkey pottery-making....................... 103 The uninterrupted process............... 78 Some historical retrospects ....................... 105 The ring variant...................... 79 Concluding remarks and comments................ 107 The circuit variant.................... 79 Addendum: coiling
    [Show full text]
  • Archaeological and Historic Pottery Production Sites Guidelines for Best Practice Summary
    Archaeological and Historic Pottery Production Sites Guidelines for Best Practice Summary This document provides practical guidance on how to investigate sites where pottery production has taken place. It describes how to anticipate and locate pottery production sites and the types of evidence that may be found. This document also provides advice on the available methods and strategies for examining, recording and sampling features and finds of various types at each stage of the work. The different techniques for establishing the date of pottery production, and for characterising the products of a site, are given particular emphasis. This document was compiled by Harriet White, Sarah Paynter and Duncan Brown with contributions by Joanne Best, Chris Cumberpatch, David Dawson, Peter Ellis, Jane Evans, Laurence Jones, Oliver Kent, Gareth Perry, The Prince’s Regeneration Trust, Ian Roberts, Kerry Tyler and Ann Woodward. It is one of four Historic England publications concerning industrial processes in the past, the other three being: ■ Science for Historic Industries: Guidelines for the Investigation of 17th- to 19th- Century Industries ■ Archaeological Evidence for Glassworking: Guidelines for Best Practice ■ Archaeometallurgy: Guidelines for Best Practice. First published by Historic England October 2015. All images © Historic England unless otherwise stated. www.historicengland.org.uk/advice/technical-advice/archaeological-science/ Front cover images: clockwise from top left Reconstruction of a 17th-century kiln from Potters A 14th-century
    [Show full text]
  • Istilah Kejuruteraan
    ISTILAH KEJURUTERAAN Bahasa lnggeris — Bahasa Malaysia BUKU ISTILAH LAiN DALAM SIRI DAFTAR ISTILAH IN!: Istilah Arkeologi 1988 Istilah Perhutanan 1987 Istilah Biologi 1988 Istilah Perikanan 1988 Istilah Drama dan Teater 1987 Istilah Perpustakaan 1988 lstilah Ekonomi 1991 * Istilah Pertani~n1989 Istilah Farmasi 1989 Istilah Perubatan 1992* Istilah Fizik Jilid I 1991* Istilah Psikologi 1992* Istilah Fizik Jilid 111992* Istilah Puisi 1991 Istilah Geologi 1988 Istilah Sains Politik 1989 Istilah Kependudukan 1991 Istilah Sains Tanah 1989 Istilah Kimia 1992* Istilah Sejarah 1990 Istilah Linguistik 1991 Istilah Seni Logam Halus 1991 Istilah Matematik 1992* Istilah Seni Reka Grafik 1992 Istilah Media dan Perutusan Istilah Simpulan dan Ikatan 1989 (Komunikasi) 1989 Istilah Tatanama Kimia 1987 Istilah Pelayaran 1988 Istilah Teknologi Makanan 1988 Istilah Pembangunan Manusia 1988 Istilah Ukur dan Pemetaan 1992 Istilah Pendidikan 1988 Istilah Undang-Undang 1992* Istilah Penilaian Harta Tanah 1992* Istilah Usuluddin dan Falsafah Islam Istilah Pentadbiran Perniagaan 1992* 1991 Istilah Perbankan 1992 Istilah Pergigian 1988 * Cetak Semula 11 ISTILAH KEJURUTERAAN Bahasa lnggens — Bahasa Malaysia Dewan Bahasa dan Pustaka Kuala Lumpur 2002 Daftar Istilah Kejuruteraan i, dalam edisi semakan nanti mungkin bertambah jumlahnya atau mungkin diubah atau ditukar beberapa padanannya, jika perlu. Penukaran padanan hanya boleh dilakukan dengan persetujuan Jawatankuasa Istilah Kejuruteraan yang terdiri daripada pakar istilah, pakar bidang, pakar bahasa dan pengguna;
    [Show full text]
  • Clay Coil Materials for 30 Students • 25 Lbs
    LESSON PLANS HAND-BUILT PROJECTS Clay Coil Materials For 30 students • 25 lbs. white low-fire clay • Assorted small and medium round brushes • Concepts™ colors as noted in step-by-step instructions • Disposable plates to hold color • Newspaper • Paper towels • Plastic knives • Water containers • Wire cutoff tool Clay Coil Projects Step-by-Step Rolling Coils 1. With cutoff tool, cut clay into 1" square strips the size of a stick of butter. 2. Mold clay with hands into an oblong shape rounding off the square edges. 3. Place oblong shape on a flat surface and gently roll clay back and forth with the palm of hands to create a rounded coil. 4. Keep rolling coil until it is an even 1/2" thick in diameter from end to end. Note: Pushing too hard may flatten coil. If this happens, gently roll on flat area to reshape coil. Ideal coils are uniform in diameter. Small Coil Tray / Coil Pot Base 1. Score then paint slip on connecting edges of coil and tightly spiral clay into a circle so that no space or gaps appear between coils. 2. To make tray or base larger, add coils by placing one diagonal cut coil end next to another and wet with slip. When desired length is reached, cut remaining loose coil from the base. Tray Handles 1. Cut two identically sized coils to form handles; cut ends of coils diagonally. 2. Place handles on opposite ends of the tray and connect Artist: Leslie Allen, Age 10 edges by scoring and painting with slip. Coil Bowl 1.
    [Show full text]
  • Ceramic Terms and Vocabulary
    Ceramic Terms and Vocabulary Bag wall – firebrick structure which prevents intense heat from striking the ware Bat – A disc of wood, plaster or plastic used on the wheel head Beaker – a tall cup Blisters – bubbles formed in the body or glaze due to rapid gas release Bisque – ware which has been fired once and is unglazed Bottle Kiln – type of European updraft kiln in the shape of a bottle Calipers – tool for measuring diameter of pots, useful for making lids Celadon – traditionally a type of greenish Asian glazes Chatter – decorative technique using a tool to create marks on a pot while it spins on the wheel Chun Glaze – a traditional sung dynasty opalescent Chinese glaze Coiling – an ancient way of making pots with coils or ropes of clay to build the walls Collaring – Reducing the size of an opening by compressing the clay while it spins on the wheel Combing – a decoration technique that uses a comb to draw lines on the surface of the pot Crackle – Decorative craze lines in the glaze, looks like netting (not food safe) Crazing – Formation of a network of cracks in the glaze (not food safe) a glaze fault Crystalline – Crystal formations on the surface of the pot from certain glazes Damper – Device for adjusting or closing the opening from the kiln to the chimney De-air – To remove the air from clay via a machine called a pug-mill Deflocculate – To disperse the particles in slip so less water is required for fluidity Dehydration – loss of water from clay during firing Devitrify – to recrystallize on cooling Dipping – immersing pots in
    [Show full text]
  • Visitor's Guide
    VISITOR’S GUIDE INTRODUCTION Ceramics have transformed the world. For thousands of years, hu- mans have shaped and fired clay into practical, social, artistic, and ideo- logical objects that can be found in almost every culture around the globe. Important social and scientific information imbedded in manufacturing techniques and decorative motifs of ceramics has been passed on for generations, exchanged between cultures, and has revolutionized people’s way of life. This exhibition highlights the Art Museum’s ceramic collection which spans six continents and six thousand years. Looking through the lens of cultural and technological influences and exchanges, this showcase seeks to reveal the depth and diversity of the collection and the power these wares possess in shaping our functional, social, and esthetic lives. The Potter’s Tale: Contextualizing 6,000 Years of Ceramics Mount Holyoke College Art Museum Curated by Aaron F. Miller, Assistant Curator of Visual and Material Culture Yingxi Lucy Gong, Art Museum Advisory Board Fellow This exhibition is made possible by the Susan Davenport Page 1931 and Margaret Davenport Page Fales 1929 Art Fund. Technology & Production As the fragmentary pieces in this case demonstrate, there are three primary types of ceramics: earthenware, stoneware, and porcelain. These categories differ based upon both the clay and the temperatures at which the vessels are fired in the kiln. Earthenware is fired at the lowest tempera- tures, and as a result, is the most porous and susceptible to cracking. The higher temperatures used for stoneware and porcelain also require specific varieties of clays and other minerals to allow the process of vitrification to occur, in which the silica in the clay becomes glass.
    [Show full text]
  • Iroquois Pottery
    Oneida Cultural Heritage Department By: Judith L. Jourdan Edit, Revision, and Layout (09/13) Iroquois Pottery the lands to accommodate the farms for their A brief History of Pottery: subsistence, the extensive clearing of land, from Early Discoveries the very beginning when they settled on the land for many years following, literally destroyed the Pottery was developed to fill the need ancient palisade ditches and sunken hollows for storage and cooking. The corded design over graves and storage pits, evidence of any adorning all early discoveries of pottery, earlier existence. whether from the Middle East, China, or the Ironically, it was the same plow action Americas was the basis for the theory that early which destroyed evidence that also led to the pottery occurred accidently when clay lined discovery of most of the Mohawk, Seneca, and baskets baked by hot coals became hard and Oneida sites. As earth was turned, attention was suitable for repeated usage such as cooking and drawn to the changes in the earths color and storage. It is also theorized that these content, revealing fragments of shells, wood ash, discoveries occurred independently in many and pottery shards. Fortunately for us, there areas around the world. were a few amateur archeologist and/ or All early pottery discoveries displayed collectors who actively sought these “Indian similar characteristics. They were all black in relics.” As a result of these early collections, color, the product of a low fire temperature such most of which were acquired over extended as a bonfire or kiln. They all had round bottoms, periods of time by accidental turns of the plow, which implied the use of a gourd or round stone the existence of Iroquois pottery has been as a type of mold form.
    [Show full text]